New Expression: September 1978 (Volume 2, Issue 6) Columbia College Chicago
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Guilt, Forgiveness, and Reconciliation in Contemporary Music
IS SORRY REALLY THE HARDEST WORD? GUILT, FORGIVENESS, AND RECONCILIATION IN CONTEMPORARY MUSIC Ariana Sarah Phillips-Hutton Darwin College Department of Music University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy September 2017 ABSTRACT IS SORRY REALLY THE HARDEST WORD? GUILT, FORGIVENESS, AND RECONCILIATION IN CONTEMPORARY MUSIC Ariana S. Phillips-Hutton Guilt, forgiveness, and reconciliation are fundamental themes in human musical life, and this thesis investigates how people articulate these experiences through musical performance in contemporary genres. I argue that by participating in performances, individuals enact social narratives that create and reinforce wider ideals of music’s roles in society. I assess the interpenetrations of music and guilt, forgiveness, and reconciliation through a number of case studies spanning different genres preceded by a brief introduction to my methodology. My analysis of Arnold Schoenberg’s A Survivor from Warsaw illustrates the themes (guilt, confession and memorialisation) and approach I adopt in the three main case studies. My examination of William Fitzsimmons’s indie folk album The Sparrow and the Crow, investigates how ideals of authenticity, self-revelation, and persona structure our understanding of the relationship between performer and audience in confessional indie music. Analyses of two contemporary choral settings of Psalm 51 by Arvo Pärt and James MacMillan examine the confessional relationship between human beings and God. I suggest that by -
Names for the Sea Names for the Sea Strangers in Iceland
Names for the Sea Names for the Sea Strangers in Iceland SARAH MOSS COUNTERPOINT BERKELEY Copyright © Sarah Moss 2012 First published in Great Britain by Granta Books 2012 This edition published 2013 The moral right of Sarah Moss to be identified as the author of the work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. Map copyright © Leslie Robinson and Vera Brice All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1988. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. Library of Congress Cataloging-in-Publication data is available ISBN 978-1-61902-217-1 Cover design by Emma Cofod Typeset by M Rules COUNTERPOINT 1919 Fifth Street Berkeley, CA 94710 www.counterpointpress.com Distributed by Publishers Group West 10 9 8 7 6 5 4 3 2 1 For all our friends in Iceland Contents Map Prologue 1 Iceland First Seen 2 Leave of Absence 3 Vestmannaeyjar 4 Back to School 5 Pétur’s Saga 6 Winter 7 The Icesave Thing 8 Spring 9 Eyjafjallajökull 10 Vilborg 11 The Hidden People 12 A Small Farm Under a Crag 13 In Search of the Kreppa 14 Knitting and Shame 15 Last Weekend 16 Beautiful is the Hillside Acknowledgements Prologue The steam rising from the pool glows with reflected light. -
Reading Ireland
Number 9 / Winter 2018 READING THEIRELAND LITTLE MAGAZINE 1 Table of Contents 2 Introduction 7 In Memoriam: Dr. Maurice Hayes 1927-2017: A Man for All Counties 10 Questions for Joan Hayes 12 Frank Ormsby: Local Poet in a Global World by Adrienne Leavy 17 Interview: Adrienne Leavy in conversation with Frank Ormsby 25 Four poems by Frank Ormsby 27 Essay: Fran Brearton on Michael Longley’s Angel Hill 29 Poem: “Ceasefire” by Michael Longley 30 Essay: “The Light Fantastic of Paul Muldoon” by Mary O' Malley 34 Essay: “Poetry and Survival: Derek Mahon, Against the Clock” by Hugh Haughton 39 Profile: “Balancing Fire, Dreams and the Signatures of All Things: Sinéad Morrissey’s Poetry and Poetics” by Brian Caraher 69 Essay: “Between Solitude and Company: The ‘I’ and Its Levinasian Relationships with Otherness In Medbh McGuckian’s Poetry” by Erin Mitchell Subscribe 77 Essay: “Reconfigurations in Colette Bryce’s Poetry” by Ailbhe McDaid 89 Review: “Beauty for Ashes.” Orla Fay reviews Leontia Flynn’s The Radio Reading Ireland is published 94 Eugene McCabe: Border Chronicler, Universal Storyteller by Adrienne Leavy bi-annually and is available to 97 Adrienne Leavy in conversation with Eugene McCabe subscribers at a cost of $40 for four 103 Essay: “Brian Moore’s Lonely Judith: A Crash Course in Craft” by Tara Ison issues. The aim of the magazine 112 Interview: Tony Kilgallin in conversation with the late Brian Moore is to provide in-depth analysis of 122 Essay: “All Shall Be Well: Bernard MacLaverty’s Midwinter Break” Irish Literature, past and present, by Richard Rankin Russell along with opening a window onto 130 Essay: “Inscribing the Margins: Homage to Ben Kiely” by Gibbons Ruark 1 the best of contemporary Irish 139 Essay: “Getting in Good Trouble – A Conversation with Stuart Bailie” poetry, prose, drama and culture. -
9780521582841.Pdf
Polish Music since Szymanowski This book looks at Polish music since 1937 and its interaction with political and cultural turmoil. In Part One, the author places musical developments in the context of the socio-political upheavals of inter-war Poland, Nazi occupa- tion, and the rise and fall of the Stalinist policy of socialist realism (1948–54). Part Two investigatesthenatureofthe‘thaw’between1954and1959,focussing on the role of the ‘Warsaw Autumn’ Festival. Part Three discusses how com- posers reacted to the onset of serialism by establishing increasingly indi- vidual voices in the 1960s. In addition to a discussion of ‘sonorism’ (from Penderecki to Szalonek), the author considers how different generations responded to the modernist aesthetic (Bacewicz and Lutoslawski, Baird and Serocki, Gorecki´ and Krauze). Part Four vi ews Polish music since the early 1970s, including the recurring issue of national identity, as well as the arrival of a talented new generation and its ironic, postmodern slant on the past. adrian thomas is Professor of Music at Cardiff University and is a spe- cialist in Polish music. He is the author of monographs on Bacewicz (1985) and Gorecki´ (1997). He also contributed over fifty entries on post-war Polish composers to The New Grove Dictionary of Music and Musicians (2001). He is currently writing a study of Lutoslawski’s Cello Concerto as well as carrying out further research into socialist realism and Polish music in the post-war decade. M usic in the 20th Century general editor Arnold Whittall This series offers a wide perspective on music and musical life in the twentieth century. -
UNIVERSITY of CINCINNATI July 26, 2005 Susan Streeter Carpenter
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ LIBERTY BOULEVARD by Susan Streeter Carpenter Doctoral Dissertation Department of English & Comparative Literature University of Cincinnati July 2005 ABSTRACT: Liberty Boulevard is a historical novel set in Cleveland, Ohio, in 1968. The primary characters are radical activists, members of Students for a Democratic Society (SDS), increasingly aware of how the Vietnam war, the racism of Cleveland police, the poverty of inner city neighborhoods, and their own alienation as students are all part of the sick “system” which must be overthrown. Inspired by the Columbia University students’ takeover, they plan to ignite the revolution in Cleveland. Ivy Barcelona, a twenty-year-old Case-Western Reserve student, adds the local draft resistance to her militant activities. Her boyfriend, Chuck Leggit, is putting himself through school at Cleveland State. After a lucrative summer bank job proves demeaning, he drops out to work full-time for revolutionary change – thus losing his draft deferment. With Jane Revard, the third major character, he starts an underground newspaper. Jane is twenty-five, a seasoned activist who has worked on Ban the Bomb campaigns, registered voters in Mississippi, visited Hanoi on a peace mission, and helped organize a Welfare Rights group. She has also developed feminist consciousness which she transmits to Ivy. Cleveland’s popular African American mayor, Carl B. Stokes, has calmed the black community after the King assassination and garnered financial support from Cleveland businesses.